Between 1838 and 1839, Chopin wrote a series of 24 works called the Preludes based on his studies on the Well-Tempered Clavier preludes by Johann Sebestian Bach. These were short works or an opening piece that sets a mood in the music that follows afterwords.
But Chopin did not insert a piece after. The Preludes were there only as their own and are written in different major and minor keys and represent different moods.
The 'Raindrop' Prelude
During his stay in Majorca to recover from tuberculosis, he composed Prelude No. 15. The nickname given to the prelude was derived from the conditions during the time he wrote the piece. It is believed that he wrote it during the storm and heard raindrops on the roof of the monastery. Hence, he imitated the sound of the raindrop throughout his piece with notes that are frequently repeated in a fixed rhythm such as A♭ or G♯ .
The prelude is in a ternary form ABA with a main section in the home key of D♭, a contrasting dark, stormy middle section in C♯ minor which is the enharmonic minor of D♭, and finally the repeat of the first section in the home key with a codetta to follow it. Although most of the piece is located in the darker and powerful B section, it is remembered for its elegance in its first melody. This is the longest of all his 24 preludes Like other Chopin works, it is played with tempo rubato, and with a cantiblie and legato style.
Main Features and Analysis
Section A
The main section features the repeated note A that represents the raindrops falling. But otherwise, the texture of section A is mostly homophonic with the right hand playing the melody and the left providing chordal support and accompaniment. To ensure the cantiblile style, sustain pedal markings are used throughout the first section. The first motif of the theme is a falling one from F - D♭ - A♭ as a sighing, and to provide support, dominant 7th chords and I chord are played in context. Followed by that is a perfect cadence at bar 4 followed by the a septuplet with an acciaccatura and a turn.
The first notes of the piece. Notice the repeated A♭ played by the left hand and the motif
After that, the first motif is played again but then introduces new material for contrast and varies but eventually modulates to A♭ major with the G# . In the new key, it restates a variation of the previous motif, but becomes A♭ minor as he uses A♭ as a pivot note between the enharmonic minor keys. But then modulates to B minor, the relative minor with F natural and ends with a perfect cadence.
In contrast to the first motif, this section features significant modulations between keys. After that, another variation of the second part of the theme (11-12) is heard and links to the first theme again. It is the same except the septuplet links to another rendition of the first idea and then it stops and hangs with a dominant 7th followed by rest for a tension. The tension is released when it switches to Section B on the next bar.
Section B
The opening bars of section B. Note the changes in key and the melody in the left hand.
This main section comprises most of the piece. In contrast to the more melodic and gentle in the first section, it is much more heavy and strong and homophonic. It starts in the key of C# minor which is the enharmonic minor of D♭ major. As previously stated, it is not as melodic and more peasante. The A♭ becomes G# from the switch to C# minor, and is the dominant key of that key. As a result, it brings an unresolved feeling or a feeling of turmoil in the beginning as it builds up. While the right hand continues playing the G# , the left hand plays a melody like a chorale that end with a bare fifths chord. And then another bar that also end with a bare fifths chord follows it. Dramatic dynamic change is often used in this section. It then becomes stronger building up to a fortisimmo using the first bar phrase being doubled by the G# and another G# an octave higher in the right hand as it gradually builds up to reinforce the melody. At the point where it reaches a fortissimo, the C sharp minor chord is broken by its relative major chord, E major and for four bars, in G# minor, the dominant minor key of C# minor. The left hand takes over the right hand and provides the octave wide chords. However, in addition to the left hand playing minimum chords, the right hand also does as well providing a strong outline. In addition to this strong part, the notes are accented. This end with a pefect cadence. The section is then repeated again to form a lasting impression.
The dramatic section in G sharp minor
The music returns to C# minor and the melody moves again up to the top part, and the 'raindrops' move up to the middle of the texture played by the right hand. In addition, the second part of the A section is replayed in augmentation with the rhythm being different and slower. As the music approaches bar 64, there are static harmony chords with G# that produce many effects including many perfect cadences and pedal effects including dominant pedals and inner pedals. The section from bar 60-62 then repeats again like the first subsection of Section B followed by a strong forte passage signifying a coming to the end of the section in F minor and C minor with some very soft chromatic notes and hovering over A♭ as it prepares to enter into a reprise.
Transition from B subject to the Final Reprise
Reprise:
Begins with the opening statement but instead of a septupulet, it is now a ten-note tuplet before fading away, and then another small portion before breaking off gently. This part of the section further provides contrast to the second section as it is soft and gentle, fading away into a distance. But then, a loud B flat breaks it signifying a final breathe before ending as it is the highest note in a forte. It then descends gently into the ending six-bar phrase that is based on the tonic and dominant chord in D flat major. The six bar phrase is soft and minor like before ending with a dominant seventh to tonic perfect cadence.
Final bars of the piece include the highest note as a climax and a soft fade away
PIANO PRELUDE NO.15 in D FLAT MAJOR. OPUS 28
Table of Contents
Background
Introduction: The Preludes
Between 1838 and 1839, Chopin wrote a series of 24 works called the Preludes based on his studies on the Well-Tempered Clavier preludes by Johann Sebestian Bach. These were short works or an opening piece that sets a mood in the music that follows afterwords.
But Chopin did not insert a piece after. The Preludes were there only as their own and are written in different major and minor keys and represent different moods.
The 'Raindrop' Prelude
During his stay in Majorca to recover from tuberculosis, he composed Prelude No. 15. The nickname given to the prelude was derived from the conditions during the time he wrote the piece. It is believed that he wrote it during the storm and heard raindrops on the roof of the monastery. Hence, he imitated the sound of the raindrop throughout his piece with notes that are frequently repeated in a fixed rhythm such as A♭ or G♯ .
The prelude is in a ternary form ABA with a main section in the home key of D♭, a contrasting dark, stormy middle section in C♯ minor which is the enharmonic minor of D♭, and finally the repeat of the first section in the home key with a codetta to follow it. Although most of the piece is located in the darker and powerful B section, it is remembered for its elegance in its first melody. This is the longest of all his 24 preludes Like other Chopin works, it is played with tempo rubato, and with a cantiblie and legato style.
Main Features and Analysis
Section A
The main section features the repeated note A that represents the raindrops falling. But otherwise, the texture of section A is mostly homophonic with the right hand playing the melody and the left providing chordal support and accompaniment. To ensure the cantiblile style, sustain pedal markings are used throughout the first section. The first motif of the theme is a falling one from F - D♭ - A♭ as a sighing, and to provide support, dominant 7th chords and I chord are played in context. Followed by that is a perfect cadence at bar 4 followed by the a septuplet with an acciaccatura and a turn.
After that, the first motif is played again but then introduces new material for contrast and varies but eventually modulates to A♭ major with the G# . In the new key, it restates a variation of the previous motif, but becomes A♭ minor as he uses A♭ as a pivot note between the enharmonic minor keys. But then modulates to B minor, the relative minor with F natural and ends with a perfect cadence.
In contrast to the first motif, this section features significant modulations between keys. After that, another variation of the second part of the theme (11-12) is heard and links to the first theme again. It is the same except the septuplet links to another rendition of the first idea and then it stops and hangs with a dominant 7th followed by rest for a tension. The tension is released when it switches to Section B on the next bar.
Section B
This main section comprises most of the piece. In contrast to the more melodic and gentle in the first section, it is much more heavy and strong and homophonic. It starts in the key of C# minor which is the enharmonic minor of D♭ major. As previously stated, it is not as melodic and more peasante. The A♭ becomes G# from the switch to C# minor, and is the dominant key of that key. As a result, it brings an unresolved feeling or a feeling of turmoil in the beginning as it builds up. While the right hand continues playing the G# , the left hand plays a melody like a chorale that end with a bare fifths chord. And then another bar that also end with a bare fifths chord follows it. Dramatic dynamic change is often used in this section. It then becomes stronger building up to a fortisimmo using the first bar phrase being doubled by the G# and another G# an octave higher in the right hand as it gradually builds up to reinforce the melody. At the point where it reaches a fortissimo, the C sharp minor chord is broken by its relative major chord, E major and for four bars, in G# minor, the dominant minor key of C# minor. The left hand takes over the right hand and provides the octave wide chords. However, in addition to the left hand playing minimum chords, the right hand also does as well providing a strong outline. In addition to this strong part, the notes are accented. This end with a pefect cadence. The section is then repeated again to form a lasting impression.
The music returns to C# minor and the melody moves again up to the top part, and the 'raindrops' move up to the middle of the texture played by the right hand. In addition, the second part of the A section is replayed in augmentation with the rhythm being different and slower. As the music approaches bar 64, there are static harmony chords with G# that produce many effects including many perfect cadences and pedal effects including dominant pedals and inner pedals. The section from bar 60-62 then repeats again like the first subsection of Section B followed by a strong forte passage signifying a coming to the end of the section in F minor and C minor with some very soft chromatic notes and hovering over A♭ as it prepares to enter into a reprise.
Reprise:
Begins with the opening statement but instead of a septupulet, it is now a ten-note tuplet before fading away, and then another small portion before breaking off gently. This part of the section further provides contrast to the second section as it is soft and gentle, fading away into a distance. But then, a loud B flat breaks it signifying a final breathe before ending as it is the highest note in a forte. It then descends gently into the ending six-bar phrase that is based on the tonic and dominant chord in D flat major. The six bar phrase is soft and minor like before ending with a dominant seventh to tonic perfect cadence.